Poet In Poetry Research Articles

신시론의 실존주의와 김수영

The poets of “New Poetry” published the first volume of “New Poetry” in April 1948, and in October of the same year they participated in the special edition of Sartre's existentialism in “Shincheonji”. However, there is no trace of Kim Sooyoung's official activities as a member of the same poetry association until “New City and Citizens' Chorus” was published in 1949. In the early days of the New Poetry Theory, Kim Sooyoung seems to have concentrated on studying poetry theory rather than on external activities. Because he had no basis in poetry theory, he had no personal relationship with the modernist poets, and his pride was hurt. However, Kim Sooyoung did not show such an expression until the mid and late 1960s. However, about 10 years after Park Inhwan's death, he criticized Park Inhwan's criticism and at the same time expressed his critical attitude toward the past modernist activities to the outside world. This seems to be connected with the period when Kim Sooyoung first realized the “dimension of criticism”.
 Kim Sooyoung was deeply concerned with the concept of conscience, one of the central themes of Heidegger's existentialism. Park Inhwan and the New Poetry poets, on the other hand, focused on Sartre's existentialism. In particular, Heidegger's existentialism had a great influence on Kim Sooyoung's poetic worldview and became the basis for his original poetic theory called “Whole Body Poetics. Ten years after Park In-hwan's death, Kim Soo-young acquired the “level of criticism,” and on this basis he criticized the “difficult poetry” of Park In-hwan and New Poetry. Park Inhwan and the New Poetry Theory insisted on the social responsibility of literature, but Kim Sooyoung criticized this position of the New Poetry Theory. However, since Park Inhwan died in 1956, the question remains whether it is justified for Kim Sooyoung to blame Park Inhwan for the literary trend of the 1960s ten years later. Therefore, this paper will reveal new facts about Park Inhwan's cultural and artistic activities after his death. In addition, this paper points out that it is not possible to evaluate Park Inhwan properly due to the lack of data.

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The author of the article examines the lyrics of the poet and artist Harry Gordon through the category of intermediality, discovering the unique visual possibilities of his word when creating ekphrasises in the narrow sense of the word (�translations from the language of painting�) and works in the author`s artistic form � �daguerreotypes�. The use of the word as a pictorial tool to create artistic imagery by poet Harry Gordon is of scholarly interest. The study is based on the theory of intermediality. The category of �intermediality�, primarily known from the works of the German scholar Aage A. Hansen-Lowe, has been further developed by a number of scholars. Gordon�s landscapes appear as (framed) paintings; portraits are masterfully created; contour, colour, outline actively work along with the word. Literature does not belong to the expressive, but to the fine arts, which can display the contours of actual reality, but the share of representationalism in the poems and the optics of the artists of the word are undoubtedly different. Harry Gordon is a poet in poetry, a painter in painting. However, the intermediality and ekphrastic nature of his poetry is extremely interesting: the poet combines words, colours and outlines as a means of creating artistic imagery, he creates poems as �translations from the language of painting�, literary ekphrasis, works with a multiview lens. The art form, which Harry Gordon called the �daguerreotypes�, is often titled with visual motifs. Often these are images from the lyrical protagonist`s childhood, but a number of them belong to the present. They are mediators that take the protagonist back to the world of childhood, such as the alarm clock. Odessa and, more broadly, maritime motifs (�Dophinovka�, �Privoz�, �Bread Harbour�, �Liman�) are autobiographical. Gordon�s daguerreotypes are mostly images from his childhood, imprinted on the retina of the lyrical character. The lyrical protagonist is often an observer (sometimes the title even specifies the angle from which the observation is made: �At the window�), but often he is also the subject, sometimes observed by another lyrical character, or even an object mentioned but not in the picture. Often Gordon�s poetic pictures are filled with the gamut of experiences of the lyrical self, such as childhood fears, shame and embarrassment, lingering curiosity, excitement, a sense of freshness, longing, etc. With a clear predominance of visual motifs (and even endowing non-visible phenomena with the properties of the visual), Gordon�s �daguerreotype� depicts a picture with sound, smell, taste and tactile sensations. As a result of the study, it has been found that Gordon�s depiction is acquired by sound, olfactory, tactile, gustatory images, with the predominance of the visual, an exchange of signs is observed between the images generated by different senses.

KONDISI SOSIAL PENYAIR DALAM TEKS SYAIR 1999 KARYA ACHMAD MATHAR (KAJIAN STRATA NORMA ROMAN INGARDEN)

<p>This research discusses the text structure and social condition of the poet in poetry “1999” by Achmad Mathar. The purpose of this research is to outline and to describe the text structure, and the social condition of the poet in that poetry. This research uses qualitative-descriptive method by elaborating of data text that contains words, phrases, or verses. The data were analyzed using the theory of strata Roman Ingarden norm and theory of solipsism. The result shows that the text structure in the poetry ”1999” by Achmad Mathar has five layers, namely the sound layer, the meaning layer, layer of things, the world layer, and metaphysical layer. The five layers of strata give rise to the impression of reading and provide in-depth meaning which can arouse the spirit of fighting to achieve independence. As for the social conditions of the poet expressed through two interrelated phenomenasof the poet. The phenomenons namely: Saddam Hussein's life story and cartoon Hanzhala by Nājī al-'Alī. Both have lofty ideals for freeing the Middle East from the influence of the West and its allies importances.</p>

Hatred of Poetry by Ben Lerner

Reviewed by: Hatred of Poetry by Ben Lerner Nina Lukina (bio) Ben Lerner. Hatred of Poetry. Farrar, Straus and Giroux, 2016. The title of Ben Lerner’s Hatred of Poetry suggests an ambitiously large topic, but, as it turns out, it’s just being modest, because its actual subject is Poetry with a capital P. In clear terms Lerner names the various haters—critics, poets and non-poets, the leftist avant-garde and the rightist avant-garde, dentists—and their particular beefs. Starting with the claim that the whole medium inspires widespread dislike, even among those most dedicated to it, Lerner proceeds to do no less than analyze the whole point of poetry and to stage an exciting defense in its favor. “I, too, dislike it,” Lerner generously admits on the first page, quoting a Marianne Moore line. Even those who are primarily occupied with poetry—poets—have a contentious relationship with it. Something about its very essence inspires hatred. A clue lies in what all poems succeed and fail to do in varying degrees, and all poems, Lerner tells us, even those generally agreed to be the best—the Keatses, Dickinsons, Whitmans—fail. They fall short because they attempt the impossible, to bring forth a message from another realm, one unburdened by logic and preconceptions. Words fall into those categories, however, so we necessarily only get a vestige of the thing itself. By hinting at more in garbled form, poetry invariably disappoints. The experience of reading poetry, in Lerner’s portrayal, is like taking psilocybin: “Do you remember the sense (or have it now) of being a tentative node in a limitless network of goods and flows?” It’s also frustrating, like coming down from a psychedelic trip during which you saw profound things, the underlying patterns of the universe, and remembering none of the specifics. You’re left with a dim sense of loss and negative space. Keats famously referred to being comfortable with that insecurity as negative capability. “That is,” he wrote, “when a man is capable of being in uncertainties, [End Page 46] mysteries, doubts, without any irritable reaching after fact and reason.” Keats left behind a small prose description of this quality, a couple of lines in a letter, a tease. Hatred of Poetry goes further and satisfies, using hatred, that negative quality, to discuss how negative capability is fundamental to poetry. The “irritable reaching” and subsequent disappointment underlie much of the hatred. There are variations, though, on this discontent. Critics, for example, often find poems to be too personal; they fail to speak to “the universal.” But how possible is that, Lerner posits, if even Whitman, the poet of American inclusiveness and democracy, doesn’t quite achieve it? Idealists hope that poetry will induce revolutions, real change in the world. They are let down, too. Others want poetry to continually embody the new and avant-garde, but, like anything else, it stops being that once published and consumed. Then there is the revulsion of laypeople, the most interesting one to examine. Lerner’s dentist, making conversation, seems embarrassed upon learning of his patient’s profession. Lerner believes this is because the dentist views him as playing make-believe, fooling around with something that is not quite tangible, that doesn’t produce any real capital. Isn’t it past time to put away childish things? The dentist has. But that uselessness in trade is a virtue of poetry, Lerner argues; it creates a hallowed space for itself apart from the mainstream economic exchange. The depiction of economic unease at the mention of poetry feels accurate, but the rest of Lerner’s look at the attitude of people who don’t read or write poetry is the least convincing part of the essay. He recognizes that it makes little difference in most lives today, but he underestimates just how little. Strangers at parties and on airplanes are resentful and embarrassed to hear that he is a poet, he claims, because they have a nagging feeling that poetry is supposed to be universal. Everyone should have an innate connection with it, yet they don’t quite get it and haven’t actually read a poem in years...

Between License and Responsibility: Reexamining the Role of the Poet in Twenty-First-Century Chinese Society

While the era of Opening Up and Reform released poets from the ideological restraints of earlier periods to pursue “art for art's sake,” the growing gap between the rich and poor and the mass human migrations to crowded urban centers from still-impoverished rural provinces have forced poets to again reflect on the relationship between poetry and society. According to sinologist Heather Inwood, this dichotomy can be traced to the inception of modern Chinese poetry—poets struggled with the simultaneous need to invent new forms of vernacular poetry while placing poetry in the service of the nation and revolutionary politics. If poetry written in the late-1970s through the '90s is known for its cosmopolitan, formally experimental poetics, many poets writing in the new millennium reveal a new leftism that stresses populist, straightforward vernacular poetry that seeks to serve China's working classes, migrant laborers, and the disenfranchised.